1. Photo Wallahs (1991), directed by David and Judith MacDougall, Fieldwork Films, Australia. [BACK]

2. Christopher Pinney, "The Lexical Spaces of Eye-Spy," in Peter I. Crawford and David Turton (eds.), Film as Ethnography (Manchester, England: Manchester University Press, 1992), p. 27. [BACK]

3. Ibid., p. 28. [BACK]

4. Dai Vaughan, "Notes on the Ascent of a Fictitious Mountain," in John Corner (ed.), Documentary and the Mass Media (London: Edward Arnold, 1986), p. 162. [BACK]

5. Ibid., p. 163. [BACK]

6. See Barry Salt, "Statistical Style Analysis of Motion Pictures," Film Quarterly , vol. 28, no. 1 (Fall 1974). [BACK]

7. Raul Ruiz, ignoring the taboo, jokes about this in his film about documentary, Of Great Events and Ordinary People (1979). As the camera pans slowly along a wall after an interview, a voice remarks: "The narrator should say something in this pause." [BACK]

8. Brian Henderson, "The Long Take," Film Comment , vol. 7, no. 2 (Summer 1971), p. 9. [BACK]

9. Israel Rosenfeld, "Seeing Through the Brain," New York Review of Books , vol. 31, no. 15 (October 11, 1984). [BACK]

11. Nick Browne, "The Spectator-in-the-Text: The Rhetoric of Stagecoach," Film Quarterly , vol. 29, no. 2 (Winter 1975-76), pp. 34-35. [BACK]

12. Howard Gardner, The Mind's New Science (New York: Basic Books, 1985), p. 273. [BACK]

13. One can get an idea of this by recalling a game which many of us played as children. When we repeated a familiar word over and over again—a word like "hippopotamus"—sign and referent began to separate until the sign became an unrecognizable phonetic pattern. It then became subject to the mispronunciations that occur with tongue twisters. A kind of verbal searching led to a play on alternative stress patterns (hippopo ta mus), picking out new signs previously hidden in the word— hip and pot , for example. Part of the pleasure of such a game for children, of course, is precisely this subversion of the linguistic codes of adults. [BACK]

14. See George E. Marcus and Michael M. J. Fischer, Anthropology as Cultural Critique (Chicago: University of Chicago Press, 1986). [BACK]

15. Alan Rosenthal, The Documentary Conscience (Berkeley: University of California Press, 1980), p. 179. [BACK]

16. Henderson, op. cit. pp. 10-11. [BACK]

17. Brian Henderson, "Towards a Non-Bourgeois Camera Style," Film Quarterly , vol. 24, no. 2 (Winter 1970-71), p. 5. [BACK]

18. John Berger, "Uses of Photography," in About Looking (London: Writers and Readers Publishing Cooperative, 1980). [BACK]

19. E. H. Gombrich, "The Mask and the Face: The Perception of Physiognomic Likeness," in E. H. Gombrich et al. (eds.), Art, Perception and Reality (Baltimore: Johns Hopkins University Press, 1972), p. 17. [BACK]

20. See E. Richard Sorenson and Allison Jablonko, "Research Filming of Naturally Occurring Phenomena: Basic Strategies," in Paul Hockings (ed.), Principles of Visual Anthropology (The Hague: Mouton, 1975). [BACK]